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Did you ever hear the expression, "You snooze you lose"? It's one of
my favorites, because I never snooze when it comes to taking pictures
and learning the latest version of Photoshop.
And speaking of the latest version, CS3 has totally blown me
away! Many of the features I've been dreaming of have been included -
plus others that I never would have dreamed of.
The program is so amazing that I thought I'd devote an entire
issue of Pixel News to CS3. Here you'll read about why I, and a few
of my friends, love CS3, and why you can't snooze when it comes to
learning the program - which includes a new Camera RAW and a new
Bridge - also amazing additions to CS3.
So, read on and enjoy my newsletter.
If you have any questions or comments, please email me at
rick@rickspixelmagic.com.
See you at
Photoshop World in Boston
in March
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Hey! What's an article on photography doing in an issue of Pixel News
that is supposedly dedicated entirely to Photoshop CS3? Well, for the
type of work I do (and fun I have), I feel that photography is a
50-50 deal: 50 percent image capture, 50 percent Photoshop
enhancements.
My shot of two lionesses with their cubs, which I photographed on
one of my workshops in the Maasai Mara Game Reserve in Kenya, Africa
in September 2006 on an overcast day, is one such example. Here you
see the straight-out-of-the-camera RAW file. I love, love, love the
way the "moms" are on the lookout for predators and the way three of
the cubs are positioned. But here's what I don't like about the
picture: 1) the way the face of the cub on the far left is half
hidden, 2) the flat lighting, 3) the dull color, 4) the way the twigs
are "sticking out of" the back of the lioness on the right, 5) not
enough light in some of the cubs' eyes, 6) too much dead space on the
top and bottom of the frame, 7) the overall flatness of the image,
and 8) not enough separation between the background and the main
subjects (too much depth-of-field). Other than that, I think it's a
great shot!
Using the Crop tool, Curves, Levels, Hue/Saturation, and then
selective sharpening and blurring the image, I created the image I
first saw in my "mind's eye." After that, I added a digital frame in
onONe software's PhotoFrame Pro 5, and a Blue Graduated Filter in
Nik Software\'s Color Efex Pro 2.0.
You can see my step-by-step enhancements in
Layers magazine (in early
2007).
So, when you are taking a picture, think about the end result -
the result you can create in Photoshop.
Larger view of images.
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All photographs (C) Rick Sammon
Search the Web, browse through the digital imaging and
photography magazines, and you'll find many articles and video
podcasts on how to use the Beta version of Adobe Photoshop CS3, which
is available free, until May 4, 2007 (I've heard), from
Adobe Labs to existing CS2
users.
Well, I'd like to write about something a bit different. Rather
than a "how-to" article, I'd like to talk about why you really should
learn the latest version of the most powerful imaging program for
photographers on the planet. I'll share with you my top 10 reasons,
counting down from #10 to #1, just as David Letterman does with his
Top Ten lists.
Let's go!
Photo for Tip 10
#10 - Improved Bridge Makes it Easier and Faster to Compare and
Select Images. When you want to compare an image to the one next to
it or above it in the Content window, simply click on the image, hold
down the Shift key, and then click on the adjacent image. Both images
show up in the Preview window.
When you want to compare two non-adjacent images, click on one
image, hold down the Command Key, and then click on the second image
to see both images in Preview window.
You can also compare multiple, non-adjacent images by clicking on
one image, holding down the Command key, and then clicking on other
images in the Content window. You'll see all of your selections in
the Preview window. There are other viewing and selecting options,
but those are the coolest, I think.
Photo for Tip 9
#9 - Improved Bridge Makes it Easier to Check Fine Details.
Remember the days when photographers used to use a glass or plastic
loupe to check out the details in a 35mm slide? The new loupe feature
in Bridge does just that. It's great for checking out fine details -
and looking for dust spots.
Photo for Tip 8
#8 - Improved Adobe Camera RAW Interface Helps You Find Stuff
Faster and Offers More Features. Want to speed up your workflow in
Camera RAW? The improved tab system helps this process. In addition,
those little check boxes for the Auto and Default settings are now
history. Now all you have to do is click on the words Auto or Default
to see the effects of these settings. I love that feature! There are
also new controls for Vibrance, Recovery, Fill Light and Blacks -
making your adjustments more user friendly. What's more, you can work
with JPEG and TIFF images in Camera RAW. Who would have ever thought?
Photo for Tip 7
#7 - Improved Adobe Camera RAW Offers More Creative Control. You
wanted it, Adobe delivered! Under the "H" tab you can now make
awesome black-and-white images, and under the "S" tab you can create
a Split Tone image. Coooooool!
Photo for Tip 6
#6 - Improved CS3 Interface Makes Working and Playing in CS3
More Fun. With the new single column Tool Bar (you can choose to have
the traditional two-column Tool Bar) and new Palette design, you now
have more room on your monitor in which to work on your images. This
redesign of the workspace, which you can customize, definitely makes
working and playing in CS3 more fun - and more effective.
Photo for Tip 5
#5 - New Quick Select Tool Offers Accurate, Quick Selections.
Hey! Didn't we see a cool Quick Select tool in Photoshop Elements?
Yes we did, and now we see it in CS3 - only with a Refine Edges
feature (accessed by clicking on the Refine Edges in the Option Bar
at the top of the screen) that helps us, that's right, refine the
edges of a selection after making a selection. If you like the
Extract tool in CS2, you'll love this tool!
Photo for Tip 4
#4 - Improved Curves Dialog Box Helps You Understand and Better
Utilize Curves. Just like real jazz bass players don't use picks,
real Photoshop experts don't use Levels - preferring to use Curves,
which offers more control over the image. Now, with the improved
Curves dialog box, Curves users (and wannabe Curves users) have more
options for more creative control. Options include also showing the
image's histogram and clipping warning. Once you "go Curves," you'll
never go back to Levels.
Photo for Tip 3|
Photo for Tip 3a
#3 - New Black and White Control Helps You Take Advantage of
Today's Great Printers. Under Image Adjustments is a new Black and
White adjustment. Not only can you adjust all the channels
individually, but you can experiment with built-in and custom
filters. You can also tint your images - and create duotone-type
effects. I love it!
Photo for Tip 2
#2 - New Smart Filters Let You Change Your Mind. "What are Smart
Filters?" you ask? Well, now you can apply a filter and work with it
just as you do with an adjustment layer and layer mask! You can
"paint in" and "paint out" a filter effect. Do you know how long I
have been waiting for that feature?
Photo for Tip 1
#1 - CS3 Can Awaken the Artist Within! With all the new and
improved features in CS3, you can truly awaken the artist that lies
within. And as all artists know, the more tools you have at your
disposal, the greater the edge you have over your competition.
Well? What are your waiting for? Download a copy of my pdf
"Rick's Top Ten Reasons for CS3"
and then download your copy of Photoshop CS3.
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Pro talk is about stuff that's interesting to pros! But aspiring pros
can get some good info here, too! Remember, all pros started out as
amateurs.
In this edition of Pro Talk, rather than talk, I thought it
might be a good idea to read about and listen to some of what's being
said "out there" about the Beta version of CS3. Check out this cool
links:
Adobe Labs
NAPP
MacFixit
Adobe Bridge CS3 Forum
Log on. Now! Want more tips? Check out what our friends Deke
McCulland and George Schaub have to say about some cool CS3 features.
The photo higlighting this article is by George Schaub.
Deke McCulland
http://www.dekemc.com
Simply put, Deke is "da man" when it comes to Photoshop. If you
have been to Photoshop World, ya know what I'm talking about!
Here what Deke has to say about the new Photomerge common in CS3.
"Well, frankly, prior to CS3, the Photomerge command was a bust.
If the camera was anchored to a tripod and the exposure, aperture,
and ISO were locked down, then there was an outside chance that
Photomerge might actually deliver something halfway decent.
Otherwise, the results looked pretty awful. You got seams, color
mismatches - it was a joke."
"Now comes
Photomerge CS3
, and surprise surprise, it works like crazy. Not only does it
produce better results, but it's also easier to use. Say that you
shoot a sequence of images - pointing your camera in different
directions, from a stationary position but all hand-held - and you
leave your camera in full-auto mode the whole time. That's precisely
the kind of chaotic but common situation that the new Photomerge was
built to address. It automatically distorts and matches overlapping
images using Photoshop CS3's Auto-Align technology. Then it color
corrects images shot with different shutter speeds and aperture
settings using the new Auto-Blend function."
"The results aren't always perfect, but they're a heck of a lot
better than they were before. Photomerge represents a significant
advance over anything that has shipped with Photoshop in the past."
George Schaub
George is Editorial Director of Shutterbug magazine and the
author of Amphoto's Guide to Digital Black and White Printing. He
teaches digital photography at the
New School and at the
Santa Fe Workshops.
Like our friend Chris Alvanas, George likes black and white
photography - especially what can be done with an image in the new
Camera RAW.
Take a look(
C)George Schaub and give a quick read!
"In the new
Camera RAW dialog box,
I suggest simply using the Saturation slider and moving it all the
way to the left to, in essence, desaturate the image. At the same
time I suggest adjusting the contrast and exposure to get the tonal
range in the image you desired. This control window alone gives you a
great jump on converting to black and white with all the tonal
interpretation you might want. I do not suggest using the "Convert to
Grayscale" box, at least in this part of the processing, as it limits
some of your options if you use it here. In fact, it converts the
image to a grayscale mode from RGB, and I always like to work my
monochrome images in RGB. This does not harm the image, but just
limits some options."
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In 2007, I'll be teaching photography and Photoshop around the
country and around the world. All my seminars and workshops are
listed on
www.ricksammon.com. But if
you want a brief preview, here's a look:
January - Palm Springs, CS
January - Delray Beach, FL
March - Boston, MA
March - St. Paul, MN
April - St. Augustine, FL
April - Cleveland, OH
May - Tibet
June - Mongolia
July - Amherst, MA
September - Amazon
October - Cape Cod
October - Namibia
I'll also be teaching full-day seminars for PCPhoto and Outdoor
Photographer. Dates and locations will be posted on
http://www.opseminar.com
soon. Come join the fun - and don't miss my famous "happy hour" after
the seminars. Lots of folks get together to exchange ideas,
information and contacts - and meet new friends.
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Chris Alvanas, Lightyear Imaging
www.lightyearimaging.com
Chris has some hot new DVDs on
Rick's Pixel Magic
(shameless plug :-) ) . Check 'em out.
Here's just one of the things our buddy likes about Adobe
Photoshop CS3.
The new BW conversion interface is in the form of an adjustment
layer in CS3. The interface is essentially the Channel Mixer on
steroids.
As you can see,
the new look of the adjustment layer is far more user friendly and a
whole lot more intuitive. It also offers the ability to 'tint' the
image after making either a "custom" adjustment or choosing from the
many presets.
The coolest thing about the interface is that it is now
"interactive" - that's right! Just move your
cursor
into the image and click and watch the magic. Your cursor turns into
a "scrubber" and makes a tonal adjustment based on the image's
brightness and color for the selected area. So, you can now simply
click in the image on the area where a tonal adjustment is wanted and
tweak the tone automatically. Pretty slick!
So let's recap...not only is the Black and White conversion
housed in its very own adjustment layer complete with a layer mask,
it has a totally interactive interface allowing the beginner an
easier way to make tonal adjustments and the advanced user a much
more precise way to refine.
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Rick Sammon's Complete Guide to Digital Photography 2.0
"Clear, concise, lively, well-organized and opinionated."-
Popular Photography and Imaging
In this thorough revision of his best-selling guide, Rick Sammon
covers all the steps in the digital photographic process. The book
teaches basic technical picture taking and the art of photography,
plus introductory and advanced digital techniques.
Orchestrating over 1,000 images into easy-to-read lessons, Sammon
uses an approach of "learning to see and seeing to learn" with pairs
of images, software screen shots, and the best photographs from his
own shooting assignments.
New for this edition, all the image editing tips feature the
popular Adobe Photoshop(R) Elements(R); file format discussions now
include working with Camera RAW files; and more than 170 new color
images have been added. 1000 color photographs.
Get the book here.
The Digital Photography Book
by Scott Kelby
Scott Kelby, the dude who changed the "digital darkroom" forever
with his groundbreaking, #1 bestselling, award-winning book The
Photoshop Book for Digital Photographers, now tackles the most
important side of digital photography--how to take pro-quality shots
using the same tricks today's top digital pros use (and it's easier
than you'd think). This isn't a book of theory-it isn't full of
confusing jargon and detailed concepts: this is a book of which
button to push, which setting to use, when to use them, and nearly
two hundred of the most closely guarded photographic "tricks of the
trade" to get you shooting dramatically better-looking, sharper, more
colorful, more professional-looking photos with your digital camera
every time you press the shutter button. Here's another thing that
makes this book different: each page covers just one trick, just one
single concept that makes your photography better. Every time you
turn the page, you'll learn another pro setting, another pro tool,
another pro trick to transform your work from snapshots into gallery
prints. There's never been a book like it, and if you're tired of
taking shots that look "OK," and if you're tired of looking in
photography magazines and thinking, "Why don't my shots look like
that?" then this is the book for you.
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